We’re on Day 20 of “shelter in place” here in the San Francisco Bay Area. We’re counting our blessings, trying to figure out how we can be most helpful to others while also taking good care of ourselves, and trying to wean ourselves off spending too much time on social media. I definitely need my “church” of regular check-ins with family and friends, daily mindfulness exercises, and lots of yoga classes to stay sane through all of this.
Back to Bach’s church. Today is Palm Sunday! Bach never officially wrote a cantata for this Sunday, since no music was to be performed in the churches during Lent. However, in 1714, Palm Sunday fell on the same day as the feast of the Annunciation of Mary, March 25. This way, while specifying “for the feast of the Annunciation of Mary” on the title page of the cantata manuscript, Bach could still write music for Palm Sunday with cantata 182 Himmelskönig, sei wilkommen! (Welcome, King of Heaven!)
If you’re not in the mood for a long story and would just like to listen to a short piece of calming music, I recommend the live performance of the opening sinfonia of this cantata on the YouTube channel of Voices of Music, with two fabulous soloists: Hanneke van Proosdij on recorder and Rachel Podger on violin. You can find that video here.
Many of Bach’s Weimar cantatas start with an elaborate instrumental ouverture or sinfonia.* There are two possible reasons for this. First of all, it was in Weimar that Bach studied lots of French and Italian compositions, and he might have wanted to “show off” that he could also write such a fashionable ouverture. But there might have also been a more practical reason: such an opening movement was the perfect piece of music during which the Duke and his entourage would slowly walk into the chapel and take their seats, and not miss anything of the cantata itself.
For the entire cantata, my all-time favorite still is the recording by Montreal Baroque. Listen here on Spotify, or here on YouTube. Their one-on-a-part performance is similar to how this would have sounded from the small organ loft in Weimar, and features fabulous singing all around (soprano Monika Mauch, countertenor Matthew White, tenor Charles Daniels, bass Harry van der Kamp).
Find the text of cantata 182 here, and the score here.
If you would like to learn more about Bach’s time in Weimar, please visit my post about Bach in Weimar I wrote in 2016. I’ve just updated it with some new photos, including a picture of the organ loft, and it has all the same links for the recording, text, and score as mentioned here.
In Leipzig in 1724, Bach performed this cantata again, on the feast of the Annunciation of Mary, which that year fell eight days before Palm Sunday.
Yesterday, Wednesday March 25, 2020, the J.S. Bach Foundation published their live video recording of Cantata 2 Ach Gott, vom Himmel sieh darein (Please God, look down from Heaven) on their YouTube channel. I thought it might be nice to provide a listening guide to go with this performance.
I love this cantata because it has trombones in the orchestra, doubling the choir parts, and because the altos have the cantus firmus (=they sing the chorale melody in long notes) in the opening chorus, which sounds incredibly good, and is unique within Bach’s writing.
Find the video recording by the J.S. Bach Foundation here on YouTube. Soloists are Alex Potter, alto; Georg Poplutz, tenor; and Markus Volpert, bass.
Find the German texts with English translations here, and the full score here.
This cantata was the second in Bach’s 1724 series of Chorale Cantatas. He most probably intended for the first four cantatas in that series to form a set, or at least to present some kind of order, if you look at the composition form of the opening movement, and which voice has the cantus firmus of the chorale tune in that chorus:
Cantata 20 O Ewigkeit, du Donnerwort: French Overture, with cantus firmus in the soprano (find my blog post about this cantata here)
Cantata 2 Ach Gott, vom Himmel sieh darein: Chorale motet, cantus firmus in alto (the cantata discussed here)
Cantata 7 Christ unser Herr zum Jordan kam: Italian concerto, cantus firmus in tenor. (find my blog post about this cantata here)
Cantata 135 : Ach Herr, mich armen Sünder: Chorale fantasia, cantus firmus in bass. (find my blog post about this cantata here)
We know that Bach liked to use order and symmetry when he wanted to impress other people with a composition. But perhaps he was also thinking of his legacy. When he started composing cantatas at the Weimar court in 1714, albeit on a monthly instead of weekly basis, his first four cantatas formed a similar portfolio of composition styles in the opening choral movements:
Back to this Cantata 2 Ach Gott, vom Himmel sieh darein (Please God, look down from Heaven), and what to listen for.
The chorale, based on Psalm 12, is by Luther. For an idea what Luther’s original song would have sounded like, you can watch this video. For readers who understand German: Eduard van Hengel’s website (in Dutch) has a very insightful overview of the original German text of Psalm 12, the text of Luther’s chorale, and how Bach’s librettist changed that into the text for the cantata. You can find it here.
When Bach uses a chorale by Luther in a cantata, he often demonstrates his reverence for the father of his faith by using the archaic form of chorale motet as opening chorus combined with the equally archaic trombone quartet (1 cornetto and 3 trombones) to double the choir parts.**
Giving the cantus firmus to the altos is however not something Bach does very often. If only he had! In this case it is especially wonderfully orchestrated, with doubling by one trombone, two oboes, and all second violins. Both on this video recording by the J.S. Bach Foundation as well on the Herreweghe audio recording I recommended back in 2017, Alex Potter’s voice significantly enhances this winning blend of alto voices and instruments, and on this J.S. Bach Foundation video recording he also sings the beautiful alto aria. It definitely made my day yesterday.
Bach alto and tenor arias are at their prettiest, I find, when they are written as a trio sonata, and the alto ariaTilg, o Gott in this cantata is a beautiful example of that. Wonderful singing and playing by alto Alex Potter and violinist Renate Steinmann. The aria is a plea for help in fighting the “Rottengeister,” or the sectarians amidst the Lutherans. When the alto starts singing the word “Rottengeistern,” we realize we had heard this word already many times in the triplets of the violin part. As Eduard van Hengel says, it is the “popular easy talk of the sectarians, and that is also the reason why the other two parts don’t have this motive” [to further illustrate the schism].
Definitely keep the text & translations handy for this one, because this movement contains a wealth of text illustrations in the music. On the word Armen (the poor) sounds a sorrowful diminished seventh, the word seufzend (sighing) has a rest/sigh in the middle of the word, and more such things happening on the words Ach (sighing) and Klagen (complaining). In contrast to this, a few lines later, the chord on the word Gott (God) sounds open and liberating, after which God himself gets to speak, and the music turns to an arioso (similarly to how Bach does that in his much earlier Cantata 18 when God speaks). At the word heller Sonnenschein (bright sunshine) the light gets turned on in the music too: the harmony changes to C Major.
Here we have arrived at the solution/salvation part of the cantata, and so this music is more pleasant, easier to listen to. But Bach is still preaching: there are some crossing (!) lines in the music, and in the middle section, which tells the listeners to be patient (sei geduldig) and Bach stresses the words Kreuz und Not.
With many thanks to Eduard van Hengel and Rudolf Lutz for their explanations of this cantata,
Wieneke Gorter, March 26, 2020.
*more information about this painting and the other objects in Christian V’s Hall in Rosenborg Castle can be found here.
**The best examples of this are cantatas 2, 25, 38, and 121.
Finally I get to write about Cantata 18 Gleichwie der Regen und Schnee vom Himmel fällt (“the same way rain and snow falls from heaven”), which Bach wrote for this Sunday (Sexagesima, or the 2nd Sunday before Lent) in Weimar in 1713 or 1714. I don’t remember this cantata from my childhood, but have been impressed with it since I purchased the American Bach Soloists’ CD in 2010.
Find the German text with English translations here, and the NBA score here (Neue Bach Ausgabe score, based on the original Weimar score, the same one used by the American Bach Soloists, without recorders in the orchestra).
There is so much happening in this cantata that I could write two or three blog posts about it. To start, I’d like to share three recordings that stand out to me.
My first love of this Cantata 18, the American Bach Soloists’ recording from 1994, can be found here on Spotify. Or purchase the CD or MP3 on Amazon USA, or on Amazon DE, or on iTunes. Soloists are: Julianne Baird, soprano; Benjamin Butterfield, tenor; James Weaver, bass. Violas: Anthony Marin, Lisa Grodin, Sally Butt, George Thomson; Violoncello: Warren Stewart; Bassoon: Andrew Schwartz; Archlute: Michael Eagan; Organ: John Butt.
Director Jeffrey Thomas chooses a slower tempo for the opening sinfonia than most others, which I like. It makes the music more dramatic, and it allows the instrumentalists to paint a truly cold, wintry rain, completely appropriate for this time of year in Germany. The sound of the four violas together is wonderful throughout, and I love Julianne Baird’s singing of Luther’s “litany” in the third movement.
The next two recordings use a later* version of the score, with the addition of recorders in the orchestra.
I highly recommend the recording by Ricercar Consort from 2004, available here on YouTube. With: Katharine Fuge (Soprano); Jan Kobow (Tenor); Stephan MacLeod (Bass); François Fernandez (Viola); Luis Otavio Santos (Viola); Philippe Pierlot (Viola da gamba); Kaori Uemura (Viola da gamba); Ageet Zweistra (Violoncello); Kees Boeke (Recorder); Gaëlle Lecoq (Recorder); Josep Borras I Rocca (Bassoon); Michele Zeoll (Double-bass); Francis Jacob (Organ).
What I like about this recording: the orchestration with two violas and two viola da gambas instead of four violas. The bass instruments do an absolutely fabulous and unrivaled job of bringing out Bach’s illustration of the text “und macht sie fruchtbar und wachsend” (and make it fruitful and fertile) in the second movement. You can truly hear plants growing and blossoming there. And bass Stephan MacLeod, whose singing I usually appreciate much more in Renaissance music than in Bach, is superb in that second movement. His voice is a beautiful “Voice of God” in the text from Isaiah 55: 10-12.
Final recommendation, for now: the live video recording by the J.S. Bach Foundation from 2009, available here on YouTube. With: Núria Rial, soprano; Makoto Sakurada; tenor; Dominik Wörner, bass; Recorders: Armelle Plantier, Gaëlle Volet; Bassoon: Nikolaus Broda; Violas: Susanna Hefti, Renate Steinmann, Martina Bischof, Joanna Bilger; Violoncello: Maya Amrein; Violone: Iris Finkbeiner; Organ: Norbert Zeilberger
What I enjoy most about this recording is Nuria Rial’s singing of the soprano aria (the fourth movement). The aria is incredibly difficult, but, as always, she makes it seem effortless, and her “Fort mit allen, fort, nur fort!” is the best of all recordings I have listened to. I also enjoy the choir sopranos’ singing of the “litany” in the third movement, and the mere fact that you can watch everyone make music, since this is a live video recording.
If you would like to read about another cantata for this Sunday, find my post about Cantata 126 here. Bach wrote that cantata also for Sexagesima Sunday, in 1725.
Wieneke Gorter, February 16, 2020.
*from 1724 in Leipzig, when Bach performed this cantata again.